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by Nathan Dawe
feat. KSI

The horrible house piano and “uh-k-ch” hi-hat pattern gave me an awful premonition that the music industry might now, having successfully rehabilitated some of their 80s back-catalogue through retro-tinged modern productions like Mark Ronson’s 'Uptown Funk' and The Weeknd’s 'Blinding Lights' and via viral media like Tim & Fred Williams’s ‘In The Air Tonight’ reaction video, they might now have the worst plastic rave excesses of the 90s in their cross-promotional cross-hairs. Save our souls…

Leaving my reactionary tastes aside, though, there is an interesting production moment in this track at 0:36, where we get the kind of sub-bass dive-bomb hit that’s far from unusual in EDM tracks these days – it’s almost par for the course, in fact! What’s less standard, however, is that the low reach of the pitch-drop appears to be unrestricted, where most EDM producers (or mastering engineers) have the sense to at least high-pass filter at 20Hz of so. As such, anyone listening to this with a subwoofer will be able to watch the cone merrily waggling around at well below 20Hz, such that what normally looks like something of a blur can actually be seen sedately tracking each waveform excursion. And, from a more technical perspective, what it means is that a bunch of signal headroom on the master buss is being used up for no audible benefit.